Tag Archives: Nicole Kidman

Our thoughts about the film ranged over several topics: the film’s setting, including time, space and place; the gothic heroine; her husband; their children; the plot twist(s); other gothic films.

We began with discussion of the film’s setting. A title identifies the action as occurring in Jersey in 1945. The Channel Island location mostly seems significant in terms of its isolation and the unusual liminal position it held during World War II: it was British territory, but occupied by the Germans. This allows the film a connection to gothic of Britain past. The link to past gothic films is heightened by the 1945 date – a time at which many gothic films were popular in Britain and the US.

Discussion also centred on just what aspect of the film the 1945 date setting referred to. While there are no flashbacks, the film’s structuring of time is complex as it is revealed that most of the characters are no longer living, with their deaths having taken place at various points in the past. The main family appears to have died some time between the beginning and the end of World War II, with the heroine Grace (Nicole Kidman) mentioning that the staff has left in the last week. In retrospect, we can see this as relating to the time of her and the children’s (Ann and Nicholas’) deaths. The ghostly staff replacements’ date of death is more concretely asserted – Grace finds a photograph dated 1891 of housekeeper Bertha Mills, gardener Mr Tuttle, and housemaid Lydia posed after death from tuberculosis.

The gulf in time between these sets of characters was especially interesting. We noticed that the film gave good reason for the lack of technology, the presence of which might have confused the older staff. Grace says that they have got used to not having electricity since the occupation, while the children’s supposed photosensitivity means they cannot be subjected to more than dull candlelight. The lack of a telephone and automobile also makes the fact that nobody calls more understandable – it both makes smoothes over the fact that the main family is only recognised by the three older ghostly staff and increases the whole household’s isolation.

Space is especially important to the film, not just in terms of its isolated Jersey manor house setting, but the specific way in which Grace, Ann and Nicholas, as well as Mrs Mills, Mr Tuttle, and Lydia are all bound to the area of the house. The suitably gothic fog is complicit in this. While the ghostly staff is tied to the house by their duties, the children by their photosensitivity and Grace to a large extent by her status as mother, on the one occasion she leaves the house she is hemmed in by oppressive fog. Mrs Mills is signals that this is a deliberate instrument to prevent Grace from reaching the outside world. This is unsettling, as it causes us to question what is going on, and this is reinforced by the film’s camerawork on the two occasions characters attempt to leave. When Grace sets out in the fog she appears to both leave the house and happen upon it without changing direction- almost making it seem that the building on screen is a neighbouring manor house. The children leave in the dark and they too end up looping around the house. The camerawork suggests they are getting away from the house, but they return to it, and the gravestones revealing the deaths of Mrs Mills, Mr Tuttle, and Lydia.

This lack of mobility, or the sense of characters trapped in space, led us to discuss this matter more. We thought it was especially significant that while the ghostly staff, Grace and the children are limited to their place of death – the house and its environs – Grace’s husband Charles (Christopher Ecclestone) manages to escape the front where he has been killed to meet Grace in the fog on his return home. He states that this is what he has been looking for. While the gardener Mr Tuttle also has more mobility than his female counterparts Mrs Mills and Lydia, like them he is afforded no class mobility. All three are not only confined to the area of the manor house they previously worked, but to working for the new lady of the house– they do not get to rise above their class situation.

We especially focused on Grace’s status as gothic heroine. While the mother is fairly unusual in terms of gothic film (it does not occur in Rebecca (1940), Gaslight (1940 and 1944), The SpiralStaircase (1945), or Secret Beyond the Door (1947)) other aspects connect Grace to the genre. She is a woman in peril, seemingly beset by ghostly intruders (actually the new owners of the house) against whom she actively takes up arms – a shotgun. It is also feared, by her, and us, that she is going mad. It later turns out this had indeed previously happened as the children died after she smothered them with pillows and she consequently committed suicide with a shotgun. There also seem to be specific nods to the gothic film of the 1940s with an especially striking scene in which Grace in dressed in a white nightgown, lamp in hand, as she investigates the goings on. (See previous posts on gothic films we’ve watched for discussion of similar scenes, as well as the 20 minute video essay Passages of Gothic which you can view here https://vimeo.com/170080190)

Grace’s relationship with her husband is also unusual in comparison to the 1940s gothic film. While in Rebecca, Secret Beyond the Door, and others, the heroine is in danger from her husband, in The Others he is absent for a large part of the narrative. When he returns this appears, as indeed it is, unlikely, seemingly summoned by Grace’s desire. We wondered what the point of Charles’ return was. While he does reunite with his family and they are overjoyed to see him, he is distressed, spending much time unable to get out of bed. We were unsure whether this related to post traumatic stress due to the war or if he had an inkling as to his own death, and perhaps those of his family members. It was noted that he confronts Grace about her slapping the children in the past, after Ann relates this to him, and it was raised that perhaps this signalled his knowledge of Grace’s killing of the children. We also discussed Charles’ swift departure. Perhaps this signalled some kind of resolution for him, or Grace, though it seemed a little hurried.

The children were another interesting departure from gothic films. While they seemed grounded and modern in some ways (we especially appreciated Ann’s logic in arguing for her interpretation of the bible) there were moments they appeared more like the creepy of films such as The Innocents (1961). There are times it seems that Ann might be ‘gaslighting’ her mother since she tells her of the intruders only visible to her – and not the audience. An especially disturbing scene occurs when Ann, dressed in her first holy communion dress, is possessed by the medium attempting to make contact with the family. The time Ann is supposedly possessed by new resident Victor is more complex. In retrospect it seems unlikely that the young boy would have the same skillset as the medium – and since we only hear Ann with Victor’s voice while she faces away from her brother Nicholas we can suppose that, as in other parts of the film, she is tricking Nicholas in order to scare him. While not a very sisterly action, this has the feel of a childish prank rather than a truly creepy occurrence.

We also debated the children’s alleged photosensitivity. In addition to the fact any previous exposure does not appear to have affected them (there are no sores on either child’s skin) we wondered just how aware people would have been of the condition in the 1940s. It serves the narrative, however, to keep the children in the house without having to explain why they cannot leave the grounds. It also keeps them close to Grace. We instead considered the light Grace wanted to keep herself and her children from was metaphorical – the awful truth of their non-living status and Grace’s responsibility for this.

It is especially interesting that the truth should be revealed when the curtains supposedly protecting the children from the sunlight disappear. This is a moment of horror for Grace, and this is indeed played with panic by Kidman. The connection of the curtains to the matter of domestic setting, and arguably female furnishings, is significant. Taking the line ‘Where are the curtains?’ out of its context strips it of its intensity, reducing it to a possibly trivial household inquiry. Spoken with urgency, but without knowledge of Grace’s fears, we thought it would well suit a parodic melodrama.

While this whole summary has included spoilers (sorry!) some of us who had not already seen the film were aware of the twist that the family and the servants were ghosts; furthermore we suspected that they were the intruders with the supposed intruders actually the new living owners. The manner of the Grace and the children’s deaths was a surprise though. They clearly all perished at the same time, but the fact that Grace killed her children and then herself was shocking. An attack by the Nazis seemed more likely. This revelation turns Grace’s whole gothic woman-in-peril status on its head. While we might feel sympathy for her, presumably she was unbalanced and distraught at her husband not returning from the war, it is she and not her husband, the intruders or the medium, who is the danger.

While we noted some differences from the 1940s gothic – the presence of the mother, the mostly absent husband, the fact Grace is not a woman in peril in the end, there are clearly aspects of the gothic the film knowingly draws on. In addition to the isolated manor house, Grace’s possible gaslighting, there is an emphasis on containment. Grace is obsessed with locked rooms, and keys, which speak to the fact she is keeping herself and the children from the ultimate secret – her actions. There is also the unusual fact that the supposedly ghostly goings on are indeed ghostly goings on –though the ghosts are not necessarily the people we suspect. They are not the result of Grace’s imagination or her persecution by her husband. We also thought the scene in which Grace is dressed in a white nightgown, lighting her way with a lamp during her active investigation, was a nod to the 1940s films and The Innocents. We contemplated that the mute Lydia was perhaps a reference to the heroine in The Spiral Staircase.

We were also reminded of more recent gothic films. Grace’s response to a suggestion that she has left a door unlocked, leading to the possible exposure of her children to damaging sunlight, ‘Do you think I’d do such a thing?’ is an important turning point. When we learn of just what Grace has done, it seems less like gaslighting and more that she is beginning to realise what she has done. Our knowledge then reframes the early scene of Grace waking up screaming and her response to the panicked breathing of her children. Grace’s screaming is especially intense, but she does not reflect on this. Other aspects appear to seep through, however. Grace admonishes Ann for her quick shallow breathing at the dinner table, and later Ann similarly tells off Nicholas for comparable behaviour. It is possible this is linked to how Grace killed them – their hastened breathing in response to her smothering of them with pillows. We connected this return of the repressed to the film The Awakening (2011) in which the heroine is walked through her childhood home, and the passages of her mind, in order to remember her past and move on. In fact, perhaps all of this is occurring in Grace’s mind. Such a view is supported by the fact Grace finds so many veiled items in the junk room of the mansion a surprise. While she has presumably lived there for a while, she has only just stumbled across the books of the dead- photographs of posed dead people. She is understandably shocked by these macabre pictures, and later finally recognises the truth of the ghostly servants when she discovers their photograph hidden under Mrs Mills’ mattress. The notion that this is taking place in Grace’s mind may seem to undermine the earlier assertion that Grace is not imagining the goings on. But it simply points to the complexity of the film, its relation to the gothic and its conscious referencing of earlier gothic films.

As ever, do log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.

Following the intense and enjoyable screening of the Melodrama Research Group’s contribution to the International Festival of Projections, here is a version of Frances’ wonderful Project Notes for Passages of Gothic.

Alfred Hitchcock’s Rebecca (1940) is often cited as the first in a cycle of films emerging in Hollywood in the 1940s labelled as ‘Gothic’. These films – which have also been called ‘melodramas’, ‘women’s films’ and ‘female film noirs’ – feature similar narratives focusing on the central female protagonist: the Gothic heroine. In all these films, the Gothic heroine encounters the old dark house which harbours a sinister secret which the heroine must investigate, often in fear for her life. This threat usually emanates from a male love interest, or is sometimes presented as the oppression of a larger patriarchal society. These films – which also include Gaslight (1944), Secret Beyond the Door (1947) and Sleep, My Love (1948) – feature remarkably consistent motifs, including keys, staircases, images of the heroine alone in the dark and the threat of the domestic space. Significantly, the study of film history reveals that these tropes are not isolated to the Hollywood Gothics of the 1940s but, in fact, continue to inform and appear within the Gothic cinema of today. This installation shall highlight and explore these similarities.

This project focuses on the female performance in these films in order to show the narrative and visual agency given to characters who are often seen as passive subjects and victims. Whilst the Gothic heroine may indeed be threatened by her male counterpart or dangerous environment, these stories encourage us to identify with the female lead, admiring her bravery. We engage with these films’ narratives by aligning with the Gothic heroine and her experiences. In particular, our exploration of space is mediated by the Gothic heroine’s actions. This project will illuminate how such investigation consistently takes place within the domestic space: the safety of a home is transformed into the mysterious and dangerous space of the old dark house. Comparing these films demonstrates how the Gothic heroine is often framed within the in-between places of a house: the stairwell, the hallway or the doorway. These thresholds are spaces which blur the boundaries between the public and private spheres of a home, in much the same way these Gothic narratives present a slippage between the real and the imagined; the everyday and the supernatural.

It is for these reasons that Passages of Gothic is presented within Eliot Dining Hall. Eliot College is a building which is also both a public and private space, containing professional forums for study (lecture halls, seminar rooms and offices) and private rooms (student bedrooms and kitchens). The Hall is at the heart of the college and provides passageways between these distinct locations. The Hall’s distinctive appearance has also historically made it the site for public and private events, and its scale is evocative of the intimating houses the Gothic heroine explores in these films. As the name of this event suggests, Passages of Gothic therefore invites you to immerse yourself into the Gothic heroine’s world.

The film shall play on three separate screens and is divided into six ‘chapters’. Together, these chapters create a narrative which is reflective of the fictional journey taken by the Gothic heroine: the heroine enters the house; she is forced the investigate strange occurrences; she is threatened by someone or something; and she may or may not survive her ordeal. In Passages of Gothic these six chapters are:

“I dreamt I went to Manderley again”: Gothic introductions

Inside the house

“I should go mad if I stay!”

Lights in the darkness

Women in peril

“Why?”

Passages of Gothic is the culmination of the research conducted by the Melodrama Research Group into female performance, stardom, genre conventions, Gothic tropes and the representations of the heroine on-screen. This installation showcases the re-emergence of Gothic tropes – in a remarkably consistent fashion – across film history, highlighting the importance of the Gothic heroine within this. Our celebration of the Gothic’s strong, brave, and active heroines contributes to an important, broader research question: why, after 75 years, do these representations of the Gothic heroine persist in the 21st Century?

The Melodrama Research Group is sponsored by the Centre for Film and Media Research within the School of Arts, University of Kent. The MRG is a cross-faculty group of academics who are interested in exploring the ideas surrounding melodrama as a hotly-contested topic. The group meets for regular screenings and debates, maintains a dynamic blog and has hosted research events. The group brings together scholars from various disciplines in order to foster collaborative networks for studying this pervasive but challenging genre.

This is a new, free arts festival taking place at the University of Kent from 18-20 March 2016. Spread across both the Canterbury and Medway campus, and with satellite events within the Canterbury City Centre, the festival celebrates the exciting and varied theme of projections.

All are welcome to attend the first of this term’s screening and discussion sessions which will take place on the 22nd of January in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening The Hours (2002, Stephen Daldry, 114 mins).

Rosa has very kindly provided the following introduction which includes some fantastic photographs of some of the costumes:

The Hours (2002)will probably be remembered by the general audience as the film where Nicole Kidman sported a prosthetic nose to play the role of Virginia Woolf – and for which she gained an Oscar. Nevertheless, it is a truly moving domestic melodrama where feeling identified in some way seems inevitable. Directed by Stephen Daldry and cleverly based on the homonymous novel written by Michael Cunningham, it is the story of three different generations of women living in three different times and places (Richmond, 1923, Los Angeles, 1951 and New York, 2001), but who have many similarities that we can gather from the very first scene. A writer, a reader and a character- Virginia Woolf (Nicole Kidman), Laura Brown (Julianne Moore) and Clarissa Vaughan (Meryl Streep) – are connected by the book Mrs. Dalloway, written by Woolf in the 1920s. As we will learn as the plot unfolds, the link between them goes beyond the expected, surprising us with a narrative twist and showing that each story could not be without the others.

To learn more about Michael Cunningham, the novel and the adaptation of it to screen, I suggest this article written by Cunningham and published a year after the film was released.

It analyses the process of creating a character for a book and how, once this piece becomes a screenplay, actors have to bring the characters to life, using various devices: data extracted from the written works, their own instinct, inspiration that can come from a small costume prop or through the transformation after the hair and make-up team have done their job, thinking how the character would behave beyond the story, etc. I suggest paying attention to performance and those details that help us understand the personal drama each of the characters is going through, within the confined spaces of their homes and routines.

The film received nine Oscar nominations and excellent reviews but award-winning designer Ann Roth did not get the statue for Best Costume Design as the competition that year was very strong and far more spectacular. Chicago, The Pianist, Frida and Gangs of New York had some elements that The Hours did not have, such as the quantity, extravagance and luxuriance of costume. The wardrobe that Roth created was accurate and straightforward; the nature of the script required a variety of styles and periods but with no apparent opulence, so it could seem simplistic at first sight. However, the costumes were full of symbolism and hidden messages, a perfect example of how the costume plot has an independent language and, in this particular case, a very abundant one. Giving each character a thorough look and jointly with the rest, the richness of meaning is impressive. If costume represents interiority, there is no better example than this one, where each outfit shouts something in silence – as Virginia, Laura and Clarissa do.

I would like to draw your attention to the colours and patterns that we see within the life of each character, both in costume and in décor. Every single costume change and scenography in each of the stories has a twin in the others, so I challenge you to find the connections and possible meaning of these repetitions.

Some of the costumes for Nicole Kidman were hired and made at Cosprop, one of the world´s leading costumiers for theatre and screen, based in London. As you will see from the pictures provided, the state of hat and clothes was not perfect, but this fits the mentally disturbed Virginia, who, despite following the trends, would not worry too much about her looks. We also do not perceive stains and repairs on screen, so the outfit worked perfectly well for actress, designer and spectator.

Finally, and probably most importantly for this group, we have to talk about melodrama in The Hours. I thought the article “The Times of The Hours: Queer Melodrama and the Dilemma of Marriage”, by Julianne Pidduck (http://melodramaresearchgroupextra.wordpress.com/) would explain this far better than I would, although it gives away a lot of information regarding the plot and could spoil the screening. Here is an abstract if you would like to avoid reading the article for this matter:

As Stephen Daldry said in an interview “the (book) film celebrates life with all its complexities, life is the most powerful thing we have”. So I hope you enjoy watching The Hours as much as I do and come out of the screening full of hope and inspiration for life.

Always the love. Always the hours.

Do join us, if you can for the screening of a wonderful film and some great insider knowledge!